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Search Results 0 to 25 of about 26 (some duplicates have been removed)
the sky, heaven. and many times we don't reveal anything. andweee i the eyes of the musician that they are disappointed. so you need a certain conviction. and that is sometime is considered to be outer italian. >> rose: muti, dudamel and gergiev when we continue. funding for charlie rose was provided by the following captioning sponsored by rose communications from our studios in new york city, this is charlie rose. >> rose: master ricardo muti is here, one of the world's great conductors. he has lead some of the best orchestras including the vienna philharmonic, he is currently music director of the chicago symphony orchestra, critics and audiences alike have been dazzled and charmed by the intensity, the technique, the emotion that he and his musicians bring. here is a look at a performance of verdi's requiem. >> when you look at the journey of your life, from the violin, piano, goesing, conducting, is that the perfect sign of flow for someone who wants to lead a great orchestra? >> first i didn't want to be a sician. so the first quality, i mean the first, if you don't wan
. >> they are big on the reward. i need your help. i'm looking for the brittle brothers. i don't know what they look like, but you do, don't you? >> they got my wife and they sold her but i don't know who took her. >> that means we visit every plantation until we find her. >> once the final burden, brother,alize dead in the dust, i agree to give you your freedom, and i'll take you to rescue your wife. >> where are we going? >> yeah! whooo! >> you have my curiosity. but now you have my attention. >> how do you like the bounty hunting business? >> i like the way you die, boy. >> he is a rambunctious sort, ain't he? >> what's your name? >> django. >> rose: i am pleased to have quentin tarantino back at this table. welcome. >> thank you. it's good to be back at this table. >> rose: where did this movie come from? >> well, i had the idea for it-- not a story, but i kind of had the idea for about eight years or so. and the idea was in its simplest form was a man who was a slave during the antebellum south, before the civil war, who would get free through some circumstance which i hadn't figured out yet. a
the first quality, i mean the first, if you don't want something and you get it. and but i studied very seriously but fortunately-- . >> rose: what did you want to be, do. >> first my father was a medical doctor. we are five brothers. and he wanted one to be a doctor, one to be an architect, one to-- my profession was opposed to become a lawyer, that would have been a disaster, total disaster. so for reasons that are too long to explain, i became a musicianment but my father never gave me the permission to abandon the regular studies. the classical studies, the university, so-- it is very important because i still can translate well in latin. and because i studied latin for eight years and for five years greek. so this culture, classic culture has helped me. also to take some time, certain classical distance from the crazy world of music. and i still consider myself an outsider of the world of music. i am a musician, but a musician in the moment i rehearse with my musician, i do the concert and then i don't have anything to do with the world of music and musicians. >> okay. >> so suppos
in brooklyn. what is it that most people don't understand about getting it right? >> good question. they take customers for granted and they don't have that level of confidence from day one and whether it's a restaurant or fine dining, you have to understand the word longevity and understand putting that confidence in the customers. the first visit is crucial but the second, third and fourth is paramount. not becoming too fussy and in a way understanding the customers' needs where very few chefs ever get to put themselves in the customers' perspective. >> it used to be just you have no cook, be a very good chef and i thought i was the last -- when i started cooking i saw the last of this age of the great chef where you had to be the greatest technician. now it's not like that anymore because once you became the greatest technician you didn't have the ability to open up your own restaurant anymore. and things started to change. in the '90s there were five or six restaurants where if you wanted to learn about cooking you had to work there. and now that's not the case anymore. and i have just th
makes -- what makes a great restaurant? how do you -- >> well, what makes a great restaurant i don't know exactly. a great restaurant i think is where the owner and the chef gives all the love he can. >> rose: when does your day start? >> ooh, sometimes 8:00, sometimes 9:00, sometimes 7:00. >> rose: what's the first thing you do? >> oh, it changes a little bit. i stop at the office for 15 minutes and then i go down and look if everything is holding and look -- >> rose: see i had this impression of all of you at the fish market at 4:00 a.m. everyday saying "these are the finest and the freshest" and you're poring over the fish, picking them up and deciding "only this is good enough for my customers, my clientele." >> oh, of course, we are a very aware and we do buy the best and i think what makes a great rest vaunt the cooking also. of course the service, the ambience, and for that we buy the best, we don't wake up at 4:00 in the morning because we finished at midnight every night. but we rely on suppliers from all over the country and new york city also and they give us -- >> rose:
in a lifetime. people like this don't exist very often. and they rarely get the opportunity to make movie muse calls. so you just, and because we were live t was the opening night and closing night every day. so it was that thing of, okay. on my day, let's just pray today's the day. >> rose: just for somebody that may not be familiar with the story, what is the story we're talking about here. >> hugh plays a convict jean valjean who has been put in jail for stealing a loaf of bread at the age of 18, 19 and he has just done nine years hard labor in a convict camp and we meet him on the day of his release. and the prison guard say guy called-- played by russell crowe who when he releases him said you are on parole and just in case you think parole is freedom, parole as a dangerous man means you will be under the watch of the law forever-- forever. and we watch this extraordinary journey that jean valjean goes where this man has lost all kind of hope in humanity, and has building brutallized by the system, tries to survive and he steals some some silver from a bishop who is kind to him. and an am
issue. i think it's a fraught issue with artists. artists don't necessarily want to say "i was influenced by someone" but artists do learn from other artists. so i think the show is incredibly, i hope, nuanced and subtle about the kind of relationships between warhol and the idea that there's a kind of tension and the idea that john sort of approached warhol through german artists that that there are kind of cross currents that influence is -- it can be outright appropriation, it can be parody, it can be theft, it can be all kinds of things. so i really wanted the artist to be on the record in a very honest way about how they felt about this artist. >> and i think with someone the stature of warhol there's also an oedipal kind of path where even if you move away from him you will end up meeting him and sort of finding that you do live in his world and you -- and you -- there's no escaping him. >> it is in fact -- >> rose: this is a difficult question to ask but he's not necessarily number one in terms of impact or influence or most important. who else is in the category of
what? >> don't talk about it. do it. that's what's he used to say when he was an editor. the reason he loved acting so much is you could do things by talking, simply by talking on the stage you could see the reactions on the faces of your audience. you could make them laugh. you could make them cry. it took the time lag of publication and it crushed to a matter of less than a second. instead of sending out your words on the page and not knowing what was going to happen to them, you could see the effects of your words on the faces of your audience there and then. >> he called his performances like writing a book in company. >> charlie: i want to talk a minute about the public person too. when he came to america, very successful run as a lecturer and giving public performances. >> that's what he did. these enormous very arduous lecture tours that he undertook, he would like perform his greatest hits. he would do all the characters in different voices. including the female characters. is it nancy or the death of little nell? >> the violent death of nancy. he would perform and nobody seeme
Search Results 0 to 25 of about 26 (some duplicates have been removed)